Archive for the ‘Doc Watson’ Tag

Favourite Roots Albums of 2018, so far   Leave a comment

It’s July 1. The year is half over and during the past six months some terrific music has been released. While I have heard my share of the roots music that has come out, I haven’t heard it all. I do have my favourites and that is what I share today: Fervor Coulee’s Favourite Roots releases of 2018, so far. In no particular order…

GauthierMary Gauthier- Rifles & Rosary Beads An ambitious undertaking that has received its fair share of attention. Co-writing with American veterans and their families, Gauthier has created a piece of art greater than its parts. Of course, none of it would be as significant if the songs themselves were weak or if Gauthier faltered in their delivery. No worries. Gauthier’s indomitable performances bridge the gap between those of us who have never considered serving in the military, and those whose lives have inalterably changed because of their sacrifices. Key tracks: “Got Your Six” “The War After the War” “Brothers” (purchased download)

JohnnyCash-ForeverWordsVarious Artists- Johnny Cash Forever Words: The Music Excepting the typically overwrought Elvis Costello track (When he sang—prior to about 2000—there were few who had greater regard for him, but he lost me a long time ago—his voice is shot, he mistakes emoting for expression, and has completely lost the plot on what even sounds ‘good’) this collection provides an hour of entertainment and contemplation. Comprised of unrecorded Cash ‘songs’—lyrics, poems, or musings, depending—that were—for the most part—fleshed out by the various performers, one is transported into a series of ethereal collaborations that is very affecting. Again, like the Gauthier album, what matters is more than the process, it’s the music: this album enhances the Cash legacy, unlike some other more exploitive sets that have been released. Key tracks:    Alison Krauss & Union Station’s interpretation of Robert Lee Castleman’s “The Captain’s Daughter” Rosanne Cash’s “The Walking Wounded” Carlene Carter’s “June’s Sundown” Jamey Johnson “Spirit Rider” (purchased CD)

GebtryBobbie Gentry- Live At The BBC A Record Store Day release, this 12-track compilation of cuts from 1968 and 1969 are simply a fan’s greatest attainable wish. Performances—excepting “Ode to Billie Joe”—unheard since their original broadcast (so, brand new to most of us) that add to Gentry’s legacy. Her voice is huskier on these numbers, the arrangements sparser, the mood slightly playful: the effect is  even greater intimacy that that expressed through the album versions of the songs. Key tracks: “Papa Won’t You Let Me Go To Town With You” “Recollection” “Nikki Hokey” in a medley with Robert Parker’s “Barefootin'” name-checking Long John Baldry. (purchased vinyl)

Motel MirrorsMotel Mirrors- In The Meantime The second collaboration between Amy LaVere and John Paul Keith is every bit as satisfying as their first, with the added bonus of having folded Will Sexton and Shawn Zorn into the mix to become a genuine band. Americana with a heavy dose of Memphis heart, this is a country-rock album that owes much to the music that influenced it. Key tracks: “Things I Learned” “Do With Me What You Want” “The Man Who Comes Around” (purchased download)

MarielMariel Buckley- Driving In The Dark I would have felt bad had I not been able to include an Alberta artist on this list, and Mariel Buckley doesn’t place out of any obligation. I wasn’t familiar with her until late last year, but she has quickly become a Fervor Coulee favourite. Produced by Leeroy Stagger, these ten songs contain lyrical and instrumental nuances that make them individually appealing and collectively stout. There isn’t much polish herein, just as it should be. I avoid using the word ‘authentic,’ but that is what works here. Straight-forward, modern country (think Kelly Willis) for those of us who live in the past. Key tracks: “Rose Coloured Frames” “Heart Is On Fire” “Pride” (purchased download)

David DavisDavid Davis & the Warrior River Boys- Didn’t He Ramble: The Songs of Charlie Poole A welcome return for one of bluegrass music’s most consistently satisfying bands with a traditional bent (serviced with CD). My full review here. 

DuffeyVarious Artists- Epilogue: A Tribute to John Duffey A bluegrass legend and innovator gets his due, more than two decades after his passing (Serviced with download). My full review here.

JoyannJoyann Parker- Hard To Love Soulful and blue (serviced with CD). My full review here.

dancing500Gretchen Peters- Dancing With the Beast Americana/folk doesn’t get better than this, the Nashville Songwriters Hall of Fame member’s ninth album of original material (purchased CD). My full review here.

HMT-Cover-862x785Hadley McCall Thackston- Hadley McCall Thackston A beautiful, stunning debut: like Venus, she emerges fully realized (serviced with CD). My full review here.

marewakefieldnomad_largeMare Wakefield & Nomad- Time to Fly There is so much good music, we can only hope that the best of it finds its way to us. Sometimes it is up to us to do the work. Search out this Nashville-based duo: they are worth it (serviced with CD). My full review here.

smds-album-cover-768x767Samantha Martin & Delta Sugar- Run To Me Southern Ontario’s soul revue gift to the world- lively, bright, and brassy (serviced with CD). My full review here.

DocWatson_LiveAtClub47_COVER-494x494Doc Watson Live at Club 47 There is no end to the live Doc Watson albums available, and some (Doc Watson On Stage, for one) are definitely more well-rounded than this set. However, this 1963 set recorded in Massachusetts is a welcome and indispensable addition for those of us who just can’t get enough of the deft, affable roots legend. Several of the songs contained here would remain staples of his live and recorded repertoire for the next five decades (“Little Sadie,” “Deep River Blues,” “Sittin’ On Top Of The World”) while others are less frequently encountered (“Little Margaret,” “Hop High Ladies The Cake’s All Dough,” and “Blue Smoke, for example.”) Watson’s connection to his audience would not waver throughout his career, and this early archival recording- coming in at almost 80 minutes- is riveting. (Purchased download)

 I limited myself to a  baker’s dozen albums. Look around Fervor Coulee- I have reviewed a lot of great roots music since January, and many wonderful albums just wouldn’t fit on this list: the latest from Peter Rowan, Sylvia, John Prine, Bob Rea, Sue Foley, The Lynnes, John Paul Keith, Mary Chapin Carpenter, The Travelin’ McCourys…

Thanks for visiting Fervor Coulee. Donald

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Curly Seckler, a bluegrass legend, remembered   1 comment

Curly-Seckler 1I don’t know when I first fully noticed Curly Seckler, but it may have been early in 2005 when he quipped, “Come here, you money-making thing!” to kick-off his penultimate album, Down In Caroline.

I had, of course, heard Curly Seckler prior to that. As a keen listener of bluegrass for more than a dozen years (at the time), it would have been impossible to have not heard his voice and mandolin playing.

Mr. Seckler was a long-time member of the Foggy Mountain Boys and The Nashville Grass, and I had frequently heard his mandolin and guitar playing and tenor vocals, including on the first Lester Flatt record I ‘owned’*, Lester Flatt Live! Bluegrass Festival, Lester(reissued and expanded years later by Bear Family as Live at Vanderbilt) which I acquired mostly because of the participation of a very young Marty Stuart. In hindsight, his recording of “What Would You Give In Exchange For Your Soul” (from a CMH release, and collected on Once Upon A Time) with Stuart is definitive, but to 2005 I hadn’t even given it the attention it deserved. And while his distinctive voice graced three numbers on another of my early bluegrass purchases, I overlooked Mr. Seckler amongst the more prominent (to me) bluegrassers contained on David Grisman’s Home Is Where The Heart Is collection.Home is where

(*I say ‘owned’ because I ‘borrowed’ the album from a future in-law and never seemed to remember to return it!)

So, I had seen his name listed in credits, but hadn’t really paid attention. I think I knew he had played and recorded with Charlie Monroe, and had learned his “A Purple Heart” had been recorded with the McReynolds. When Down in Caroline came my way for review, I was given plenty of reason to concentrate on his voice, his playing, and to research his history and place in bluegrass music.

Within days, Mr. Seckler went from a vaguely familiar name on paper as a sideman to a personal favourite.

Curly Caroline

When Mr. Seckler passed at the end of 2017, two days past his 98th birthday, appropriate testaments were written in his honour in The Tennessean, at Bluegrass Today, and elsewhere. Others much more able have recounted his life and legacy; I simply share my personal reflections and perspective on the IBMA Hall of Fame member

I can’t locate my contemporaneous review of Down In Caroline in my archives, but listening to it again these past weeks I know I am even more impressed by it now than I was a dozen years ago.

Released on Copper Creek, the album was produced when Mr. Seckler was 85 years old. I don’t know what I will be doing when I am 85—should I be fortunate enough to reach that milestone—but I know I won’t be singing as good as he was: few have. It is an outstanding album, full of choice moments—as when he and Dudley Connell come together at around the 30 second mark of “Valley Of Peace”, and when Josh McMurray’s banjo kicks off “He Took Your Place,” soon followed by Seckler and Larry Sparks bringing chills on the chorus—and historical moments, too. Through studio freshening, a 1971 tape of Mr. Seckler singing tenor with Bill Monroe on “Sitting On Top of The World” closes the set as a hidden chestnut, and Connell also leads the group through an impromptu take of “Dig A Hole in the Meadow.”

Rather than serving as a monument to a fading talent, Down In Caroline revealed Mr. Seckler as a vibrant bluegrass force in his ninth decade. The excellent liner notes from co-producer (and biographer) Penny Parsons share that Seckler continued writing up to the sessions, finishing “Letter to the Captain” just prior to recording it in 2004. Enough material was recorded to prompt a second volume, entitled Bluegrass, Don’t You Know, the following year. (More on that in a bit.)

When Seckler takes the lead vocal position, it is obvious that we are hearing a master: one listen to “Worries on My Mind” and “China Grove, My Home” serve as evidence. Couple all of this with a playful take of “Hold the Woodpile Down” lead by Doc Watson (culled from a previous session for a Larry Perkins album), and you have as memorable bluegrass album recorded by an octogenarian as I have encountered: across forty minutes, it never drags, sags, or fades.

Curly That Old Book

Around the same time, a collection on County Records assembled  material from an outstanding 1971 recording with the Shenandoah Cut-Ups titled Curly Seckler Sings Again.  On That Old Book of Mine, these eleven tracks were supplemented by five tunes recorded with Willis Spears in 1989, taken from the album Tribute to Lester Flatt.  The music, ranging from standards like ”Salty Dog Blues” and “Don’t This Road Look Rough and Rocky” to less familiar fare such as Bill Monroe’s “Remember the Cross” and his own “What’s The Matter Now”, was of another era and yet timeless.

While Mr. Seckler was an appealing and certainly capable lead vocalist, he was best known as a superior tenor singer, something very much in evidence here.  For good reason, Stuart called him the greatest tenor singer of all time. On the 1971 numbers, Billy Edwards (banjo) takes the lead on many, with Seckler’s rich tenor soaring over the top.   Tater Tate (fiddle), Hershel Sizemore (mandolin)) and John Palmer (bass) provide the instrumental accompaniment alongside Seckler’s guitar.

By 1989, Seckler was singing only tenor, with Spears’ powerful voice in the lead position.  Seckler played mandolin on these tunes with Spears handling guitar, and Seckler’s vocal contributions were again flawless.  Rounding out these sessions were Ron Stewart (fiddle), Perkins (banjo), and Phillip Staff (bass).

All instrumentation on this volume was well-recorded and of the quality most often associated with classic, traditional bluegrass music of the era.  No one got too flashy, with the focus on the melding of voices with smooth harmony.  This was especially evident on “Give Me The Roses While I Live” and “No Mother In This World.”

Curly Bluegrass Dont

A final album, Bluegrass, Don’t You Know and also on Copper Creek, followed in 2006 and was just as powerful as the preceding Down In Caroline. This set—again a mix of classic songs made fresh, and fresh material certifiably classic—was highlighted by one of Larry Cordle’s finest vocal turns, taking the lead on the title track, a new Seckler composition. Lyrically adroit and instrumentally noteworthy, the song encapsulates sixty years of bluegrass evolution charged by an electrifying tenor performance from Mr. Seckler. “Honey, don’t you know,” he sings as a vocal refrain as instrumentalists, including some of bluegrass music’s finest—Perkins, Rob Ickes (Dobro), Brent Truitt (mandolin), Laura Weber Cash (fiddle), Chris Sharp (guitar), and Kent Blanton (bass)—drop in allusions to Lester Flatt, Earl Scruggs, Bill Monroe, Kenny Baker and others who made the music what it always should be. “They say it ain’t country, but it’s bluegrass don’t you know,” indeed!

Mr. Seckler’s signature song “A Purple Heart” appears. Also included is “That Old Book of Mine” which dates from his time with Flatt & Scruggs, as do “Bouquet in Heaven,” “What’s the Matter With You Darlin’,” “Why Did You Wander,” “Brother, I’m Getting Ready to Go,” and “Why Can’t We Be Darlings Anymore,” all faithfully executed with exceptional performances from those who were selected to support Mr. Seckler on these sessions. Noteworthy is “Brother, I’m Getting Ready to Go” performed by the trio of Larry Sparks, Larry Perkins, and Mr. Seckler, with Sparks taking the lead position instrumentally (a stunning example of his signature guitar style) and vocally.

The autobiographical “The Way It Was” features twin fiddles from Sharp and Tater Tate, and like every song on this collection, its melody lingers long after it is heard. Appropriately for an album that showcases Mr. Seckler’s talents as a lead vocalist, the album closes with another new number, the vocally challenging “The Old Man Has Retired.” Perhaps not the smoothest performance amongst those captured in the 2004 sessions, the honesty of a well-lived life is on display as Mr. Seckler sings the song exactly as he wanted.

In the fall of 2005, I had the pleasure and honour of hearing the (by then) 86-year old’s still powerful tenor in Nashville at the IBMA’s World of Bluegrass. I don’t recall what he sang, or with whom, but I do remember that I got to shake the man’s hand, and he signed my copies of Down in Caroline and That Old Book of Mine. I cherish my brief encounter with Mr. Seckler, and these mentioned recordings are testament to the man’s talent and legacy.

Since then I’ve sought out recordings featuring Mr. Seckler; of course, here in central Alberta, one doesn’t come across them often. There are the dozens of recordings he made with Flatt & Scruggs, and I am fully entertained when I slip my Best of Flatt & Scruggs TV Show DVDs into my player. Somewhere on the internet, I found a homey recording he made with banjoist Cranford Nix including memorable takes of “Do You Wonder Why” and “Shady Grove.”

LESTER_FLATT_FLATT+GOSPEL-461535

A couple summers ago, while vacationing on Vancouver Island, I came across a copy of Flatt Gospel, an album by Lester Flatt & the Nashville Grass on the Canaan label, hidden away in a roadside cafe/record shop, and while the asking price was undoubtedly too dear by half, I haven’t regretted the purchase. Hearing Mr. Seckler on “I’m Going That Way,” “Brother, I’m Getting Ready to Go,” “Awaiting the Boatman,” and other gospel songs is truly priceless.

His recordings as the leader of The Nashville Grass are not groundbreaking, but are fine examples of his traditional bluegrass style; I can listen to he and Kenny Ingram, Stuart, Paul Warren and the rest any time. Three years ago, his final recorded sessions were included on Sparks’ ideally titled Lonesome and Then Some album, “Dim Lights, Thick Smoke,” and “I’m Gonna Sing, Sing, Sing.” I feel Mr. Seckler’s voice added just the right dimension to the choruses of these songs, and again connecting bluegrass’ past to its present.

When I hear a bluegrass album featuring Curly Seckler—whether as part of Flatt & Scruggs, with Flatt in the Nashville Grass, or later as the leader of that band, or on one of these solo recordings or in a guest appearance—I lean in close because I know what I am going to experience is perfect bluegrass.

With Mr. Seckler’s death, another link to the ‘first generation’ of bluegrass is severed. Fortunately, there are many recordings featuring Mr. Secker available, if not readily, and decades of vinyl to uncover while perusing dusty bins on Saturday afternoons. I’ll continue to seek out his recordings, and to listen to his voice and his mandolin and guitar playing—I hope—until I’m 98.

{Thank you to Penny Parsons for her timely sharing of the notes to Bluegrass, Don’t You Know and her obituary for Mr. Seckler: much appreciated.}

 

Balsam Range- It’s Christmas Time review   Leave a comment

Balsam Range It’s Christmas Time Mountain Home Music Company

ITS-CHRISTMAS-TIME-CD

Considering I’ve yet to experience the group in concert, I would still place Balsam Range on my list of contemporary ‘top ten’ bluegrass bands. I’ve written about them several times (Here, here,  here, here, and again here) and I am certain they have never disappointed me across their six albums.

It’s Christmas Time, the group’s new seasonal EP, is a very different project for the North Carolina group. If one went by the F-I-L SoBA (Father-in-Law Scale of Bluegrass Acceptability), there is no doubt the release falls short.

Bluegrass instrumentation is for the most part down-played, while the Nashville Recording Orchestra—a violin section, violas, cellos, and double bass—is prominently featured. The result is an acoustic melding of ‘down-home’ and ‘uptown’ that isn’t going to appeal to most staid members of the bluegrass community; the lively saxophone break amid the free-spirited “Rockin’ Around the Christmas Tree” will absolutely be an adornment too extreme for many.

“I’m Going Home, It’s Christmas Time,” which I associate with Ralph Stanley and Ernie Thacker, is provided the most ‘straight-forward’ bluegrass interpretation, with Darren Nicholson taking the lead place with just his Balsam Range partners participating. Certainly it is my favourite number on the seven-track release, but that doesn’t mean the more embellished productions fail. Rather, they are quite extraordinary: they just aren’t dyed-in-the-wool bluegrass, and—as such—leave this listener unfulfilled.

The group’s intent with It’s Christmas Time was most obviously to push themselves beyond the boundaries of the five-person bluegrass ensemble. The bluegrass vocal arrangements of “Hark the Herald Angels Sing” and “The First Noel” are impressive, and the string section accompaniment is appreciated given the group’s motivation. Also appealing is Balsam Range’s interpretation of Doc Watson’s “Christmas Lullaby”. BR chooses to broaden Watson’s concise arrangement, not only with sweetening from the NRO, but providing ample space for the group member’s accompanying instrumental fills and breaks. The result is somewhat cinematic.

Most assuredly, It’s Christmas Time will fit-in aurally beside the ‘background’ Christmas music we will hear over the next week or so. Unfortunately, I’m equally certain bluegrass should never be ‘background music.’ Nope, for me the energy, vibrancy, and masterful vocal creations that comprise bluegrass should always be placed to the fore.

And while the skill and execution of Balsam Range and their collaborators on It’s Christmas Time is never in doubt, I don’t see this collection replacing Larry Sparks’ Christmas in the Hills, and my Hay Holler, Rounder, Pinecastle, and Sugar Hill seasonal compilations.

Impressive and appreciated, certainly. Beloved? Sorry, no.

 

Janice MacDonald- “Hang Down Your Head”- the music   Leave a comment

HDYH_coverA bit more than a year ago, I became aware of a novel published the previous year. When I finally saw the book in a bookstore, three things immediately struck me:

1. There was a banjo on the cover, albeit of the dreaded six-string variety;

2. The novel was entitled Hang Down Your Head, a moniker that calls to mind to even the most pedestrian of roots listener “Tom Dooley”/”Tom Dula”; and

3. Upon examination, it was apparent that the story was set in Edmonton.

This final detail reminded me that I had previously read a review of the book somewhere, but all I could recall was that it involved a murder at the Edmonton Folk Music Festival. Anyone who has attended the fest in the last ten years has likely fantasized about killing someone (usually morons with scruffy beards and dance hands who talk all through Rodney Crowell’s set…) while in attendance.

I purchased the novel and read it. My intent here today is not to review the book- it is two years old- but I found it a little uneven the first time through, and this feeling was reaffirmed the other night upon re-reading. It is predictable in places, awkward in others, and yet the book has so much going for it, including lots of south side Edmonton references and as much roots music discussion.

The protagonist through whose voice the story unfolds is flippant, pithy and a bit snarky and given to tangents that only serve to endear her to similarly minded people. Naturally, I quite fell for Randy Craig, given her internal dialogues and vivid descriptions about “Stackalee,” Edmonton’s summer festivals, the LRT, Rutherford North, the Tory Turtle, Yianni’s Taverna,  and the vision of Moses Asch. It is MacDonald’s imperfect style of ‘writing within Craig’s head’ that I most enjoyed: she could have ‘got there’ more quickly, but the journey would have been much less rich for the sake of brevity.

I write this today because I noticed that the latest local bestseller from MacDonald has recently been released. O, and the Edmonton Folk Music Festival is approaching, although tickets for all but seniors have been sold out since the day they went on sale.

While reading the book a year ago, I made notes on the many roots music references I especially appreciated thinking that when MacDonald published her next novel, it would make a timely little Fervor Coulee piece. Of course, those notes were lost in the move and are not scheduled to resurface until twenty minutes after I hit Post on this.

Other than the novel’s title and the murder at the Edmonton Folk Music Festival, what does all this have to do with roots music you may still be asking yourself. The backdrop of the plot is that Randy Craig, the accidental protagonist, is working at the University of Alberta’s Smithsonian Folkways Collection Project. Briefly, her term position is to listen to the Smithsonian Folkways collection and write little snippets to accompany the recordings on the website devoted to the Moses Asch collection housed at the university. This allows Craig- when she isn’t stumbling further into a series of murders and assaults- to make many roots music observations. Sometimes these get in the way of the plot (hence, my comment about unevenness above), but for me they add a great deal of colour and make the entire book more engaging.

Here I am going to attempt to highlight some of my favourite lines/references in the book, and link to sound bits and video found on the web, where possible linking to a song mentioned in the book. I’m dividing them into ‘roots music/Smithsonian Folkways’ related, ‘General’, and ‘Edmonton/University of Alberta’ related.

Roots and Smithsonian Folkways favourites from Hang Down Your Head:

1. “I had the feeling that Maybelle (Carter) would have been someone I’d have liked a heck of a lot if I’d ever met her.”

2. My favourite, because it almost slips by the reader- “What sort of name is ‘Eck,’ anyhow?”

3. A couple extend conversations around the roots of the Tom Dooley/Tom Dula story, as well as characters named [Black] Jack Davey and Barbara Allen.

4. “I love Doc Watson’s voice; it was as mellow as honey running in the hot sun…”

5. References to and observations made about Pete Seeger, Woody Guthrie, murder ballads and Childe ballads, James Keelaghan, “Down By the Henry Moore,” and Tanglefoot, as well as dialogue contributions from the likes of Ferron and especially Tom Paxton, who provides significant background on the family in the middle of the murders.

General passages or allusions/references I liked:

1. A Jerry Orbach mention! (One of my great regrets is not running down Orbach at a Montreal airport when I recognized him from a distance.)

2. “I maintain that Tom Waits would be nowhere without [Dave] Van Ronk to carve the pathway for him. Of course, that could also be true for Rod Stewart and Kim Carnes, who I had long suspected were the same person (of course, once I heard Bonnie Tyler, I realized they were both her.)”

3. Thinking of her mother, who feared apartment life should her behaviour (such as late night baths) negatively impact on her neighbours, Randy muses, “She, of course, had no idea of the basic indifference of man any more. She had been raised in an age of manners and etiquette, which is something we have somehow managed to lose along the way to the twenty-first century…the world was just more and more rude and irritable each day.”

4. A lovely comparison between homesteading in northern Alberta (Chris and Sally Jones country, for a roots reference) and life in the Appalachians.

5. MacDonald’s use of the word ‘chesterfield.’ ‘Nuff said.

Edmonton/University of Alberta references:

1. About the U of A campus- “It’s a shame that most students leave the campus for summer work or holidays back home just as the U of A is beginning to look like everyone’s dream of collegiate life.”

2. Remember when I mentioned ‘pithy’ earlier? From the same page as the above- again, writing about the U of A campus “Abandoned by all except grade school teachers hoping to escape the classroom by getting advanced degrees and becoming principals.” Ouch.

3. Mentions of John Wort Hannam and Mike Stack, and an especially nuanced discussion about Ben Sures. O, and Colin MacLean!

4. “The worst thing about hot weather in Edmonton is that you feel incredibly ungrateful if you complain about it. So much of the year is spent bundled so that you have no exposed flesh to freeze within ten seconds, that when some hot weather comes…you feel as if you can’t voice an opinion about it.”

5. “The southerners know how to celebrate their “Shortnin’ Bread” and “Jambalaya” , but as far as I could think, only Bill Bourne had immortalized “Saskatoon Pie.” I know that song isn’t “Saskatoon Pie,” but I couldn’t find it anywhere, and the line from the book was too good to pass up.

All in all, Hang Down Your Head is likely to provide any roots music fan with several hours of entertainment as the murder mystery unfolds as well as countless hours of Internet sleuthing to uncover performers and songs mentioned. The book provides lots of quips about the sociology and minutia of the Edmonton Folk Music Festival, most of them kind but sometimes (and gleefully) edging on snarky.

Hang Down Your Head and other Janice MacDonald titles including the new Condemned to Repeat are available at (some) Edmonton bookstores, including Audreys. If you aren’t near Edmonton, the Amazon and Chapters/Indigo behemoths have it as well.

Thanks for visiting Fervor Coulee. Donald

Elizabeth Cook Plays One For Doc Watson   Leave a comment

Elizabeth Cook is everything that is good about country music. Here, she rips through “Columbus Stockade Blues.” Doc never did it quite like this…

http://www.youtube.com/watch?v=tQU1W4psu6g&feature=youtu.be

“I have seen the David, I’ve seen the Mona Lisa, too.

I have heard Doc Watson play Columbus Stockade Blues.”

-Guy Clark, “Dublin Blues”

 

Posted 2012 June 4 by Donald Teplyske in Uncategorized

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Doc Watson- Legacy   Leave a comment

Over at Fervor Coulee Bluegrass, I’ve posted my 2003/2004 piece about the Doc Watson-David Holt album Legacy. I’m listening to it tonight and thinking of Doc. As I type, Doc is recollecting his early memories of his beloved Rosa Lee. It is a wonderful recording, and appropriate listening on this day. http://www.countrystandardtime.com/blog/FervorCouleeBluegrass/entry.asp?xid=889 will get you there- I retyped the piece this evening, fixing only typos and a couple awkward phrases.

Doc Watson 1923- 2012   Leave a comment

David Morris writes it better than I ever could: http://bluegrasstoday.com/42368/rip-doc-watson/

I’ll go listen to Legacy, his triple album of stories and songs with David Holt.

We all die. Some of us leave more than just what we created.

Posted 2012 May 29 by Donald Teplyske in Uncategorized

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